Book Review: Tales of a New America I

Tom Rhodes reviews Gunther Roosevelt’s Tales of a New America:

Tales of New America (ToNA) is a series of related vignettes to describe the idea of what/how a new conservative America might look and be formed.  From the description I started out thinking I’d enjoy the book and it would offer additional insight into both libertarian and Christian thought. ToNA starts out feeling like some stereotypical pro-white-supremacist-extremist-christian-conservative Idaho utopia to counter dystopia leftist urban failure and never escapes that stereotype. If I hadn’t promised to review it I wouldn’t have read past the first vignette.  Not because I disagree with the patent facts presented but because I found the means of presentation not only lacking as a literary work, but uncompelling.

If you’re a feminized politically correct irrational thinker you will quickly dismiss the book and the ideas presented as misogynistic patriarchal racism, and use it as proof of your politically correct beliefs about white men. I am not only not PC, but enjoy non-PC writings but although ToNA is politically incorrect but the method it was written seems as though it was purposefully written to piss-off the politically correct thinkers as much as possible, and discredit the politically incorrect ideas it presents.  If I were a liberal trying to write a book to discredit libertarians and Christians, I might write ToNA as a way to discredit objective truth. That said, finding some small nuggets like this make it an interesting if uninspired read

“Okay, Captain. I’ll bite. What was it you wanted me to observe?”

“The milk of human kindness.”

“Huh?”

“You and I, you probably more than me since you’re so much younger, well, we’re going to do a lot of cruel things by the time we’re finished. When the war comes, you’ll be called up. You’ll do things you won’t look back on fondly. It doesn’t mean you weren’t right, but doing the hard things, things that make others suffer — that doesn’t feel good either. So I want you to see that if you get the chance, not stupidly or recklessly, but just a chance, you try to do some good when you can. Something you can look back on and be proud of having done.”

“Those women, I know them. They won’t subvert the Region with the way they live. We’re always going to have such people around. Our own children sometimes. Who knows? There’s a certain level of variation from the norm that we’ll always have. We can be tolerant. We just can’t let people be stupid about it.”

The core of ToNA is to attempt to expose politically incorrect but objective truths.  It accurately describes the differences in how men and women think and behave, and the arguments against universal suffrage are clear and valid. The reading however comes off adolescent and condescending. In the end I found that not only was it difficult to relate to the cardboard characters but I found myself not caring if they succeeded or not.  What both the book and characters lack are charisma.

ToNA attempts to explore harsh truths that most of society doesn’t want to address. It has some insights and wisdom that demand further exploration and discussion.  Although some wonderful nuggets like, “for men like to pretend they’re immune to being hurt, yet nurse grudges forever, and rarely forget a slight.” can be found, overall it is not a convincing read.

Gunther Roosevelt fearlessly addresses race and racism as ToNA’s dominant theme.  A huge contradiction from observable truth undermines the hypothesis he presents. The entire football related sub-story pushes the idea not only are whites as strong, fast, and capable as blacks, but are smarter.  This ignores the observable fact that genetically some races of people provably have better abilities in some areas than others, and implies that whites are superior in every aspect to blacks and only reverse-racism allows the disproportionate distribution of blacks in football and other areas. This obviously flawed position does much to make other valid points appear equally invalid.

The reality that blacks have not and do not maintain modern civilization anywhere they are in control, as is observed from Detroit to Zimbabwe.  ToNA does acknowledge and present interesting arguments to illustrate the more primitive tribal nature to which blacks revert, but the inference that the white race is superior in all things, even in aspects that they are observably as a group less capable, undermines the validity of the factual arguments on racial differences.

Other simple errors like saying Kennewick is south of Yakima, (which is like saying Tampa is South of Orlando), further make any arguments seem less valid.  FYI – Although nominally south, in the drive from Yakima to Kennewick you take I82 east, just as Tampa is nominally south of Orland, you get take I4 west.  It’s a small trifle thing but it generally makes all of the author’s ideas appear poorly researched and thought out, decreasing the overall credibility of the book.

I liked the ploy of using a female character to define female imperative and emotional nature of women and win a debate on why woman’s suffrage is not part of New America.  The clear point that even though a woman can recognize and articulate logical reasoning their emotional desires override rational thought.  The cameo character, Christian psychologist Rhonda Martin, says: “Now, women by nature are emotional and will be ruled by their emotions unless they’re taught to develop reason and judgment in a way that isn’t used simply to support emotion and feeling, but actively challenges emotionalism itself. The fact is, more than likely, that’s not going to happen, so you’ll get plenty of smart women who can argue a million ways ‘til Doomsday over what they want, but never figure out that what they want is just plain wrong.” and foreshadows Kevin’s girlfriend Janet rejecting her own logical arguments and the breakdown of their relationship.

Besides feminism and race the unifying theme of how a society that valued and required individual responsibility, and what it might look like.  I enjoyed the presentation of the idea that even in government people should be accountable for their actions.

“Finally, just as private citizens had always been liable for damages and injuries to others, public servants were also. It tended to make them less arrogant, power driven, and stupid when violating anyone’s civil rights or failing to do their jobs in a timely manner. If a bureaucrat responsible for approving your passport and creating the document failed to accomplish the task by the scheduled date costing the applicant time or loss due to plans being interfered with, that bureaucrat could be sued for triple damages. Threat of serious accountability put a little spring in a public employee’s step.”

Overall as a literary work it was mercifully short, and although the major themes presented are objectively true the delivery reminded me of a lot of “Christian” fiction.  Preachy and ineffective, it fell prey and read exactly like the Hollywood Entertainment vignette.  I’d never recommend Tales of New America to anybody I actually wanted to have a rational discussion on feminism, racism, or libertarian ideas, as it will only make those who expose objective truth look like dumb white Nazi’s.   Even at the paltry sum of $3.99 to purchase Tales of New America, I’d have felt like I wasted my money, at best it’s a 99¢ ebook.


Tom Rhodes is a chemist who formerly worked as a public school chemistry
teacher and computer programmer, is the current vice chair of the
Libertarian Party of Citrus County, and the Chair of the Libertarian
Party of Florida Platform Committee.


Lions Den IV: Gunther Roosevelt

Now that the Lions Den series has been introduced with some more or less established writers, I thought it would be good to start bringing some new writers from the burgeoning independent publishing scene into the mix as well.  I don’t know anything at all about Gunther Roosevelt, except that it is obvious there is no chance in Hell that his anthology, Tales of a New America, would be published by any mainstream SF/F publisher, with the possible exception of Baen Books.  As always, if you’re interested in being one of the three two one volunteer reviewers of the book, please send me an email. We are all set for reviewers.

After 9/11/01, I had hoped that Americans would rally against one of the most vile and long standing enemies of humanity, Islam; but neither the experience of the wholesale slaughter of thousands of innocent Americans nor the glimpse of an unveiled totalitarian and psychotic Arabian evil could hold the sociopathic Left in check for long.
Combining the Bush administration’s incompetent foreign policy, the President’s absurd belief that ancient places with tribal peoples filled with simmering animosities and rabidly violent inclinations could embrace impartial  institutions and liberal democracy, along with the Left’s program of political correctness, destruction of Christian morality, indoctrination of the young, and corruption of all American institutions and triumph of crony capitalism — I realized that America was over.

Voting Republican, Libertarian or anything else was useless. Nothing could stem the tide of America’s financial and social destruction anymore than our elected representatives wished to stem the invasion by Mexicans, Asians, Africans, and Muslims regardless how many Americans were killed, raped, molested, robbed, and maimed by the illegal and legal hordes.

What could be done? Politics was hopeless. The people had no voice nor advocate no matter who they elected, and half were co-opted anyway and part of the scheme of government growth, employment, or benefit. The answer was as clear to me as it was to the Founding Fathers — That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it.

It was also clear that moaning and complaining about the present situation was a waste of energy and trying to organize incremental reforms to re-establish a coherent and sane society was futile in the extreme.

What is needed is revolution, but before it can begin, people need a vision of what a saving remnant might accomplish in carving out a territory within America and building a new nation and ethno-state. People would need to see what a New America might look like where they could thrive as they once had, and if determined, might return to conquest in driving out invaders and their collaborators from ancestral homelands

Hence, the Tales of New America that offers that offers twenty-three snapshots from a period fifty years or so years into the future.

The Tales present a new society in the making, its cohering into a state with religious foundations, its gathering of people, and organizing of institutional machinery and an advanced military. You meet a border guard in a key outpost with the power of life and death trying to maintain his humanity while enforcing laws with harsh penalties.

There are athletes, soldiers, hardware store salesmen, foreign spies, Berkeley refugees, Mexican gang bangers trying to hang on to their territory, ghetto dregs when the well’s run dry, Leftist peaceniks facing their folly, mindless government bureaucrats revenged upon, and a movie producer helping to create a new Hollywood who make up some of the characters in the stories.

The reader will find that some stories are better written or more engaging than others, but that’s the beauty of an anthology like this — readers will disagree on what they most liked or didn’t enjoy as much.

Tales of New America is a panorama through time of possibilities for a thriving and prosperous future for civilization, the Northern European kind, that has done more good for more people and would continue to do so were it re-infused with great purpose and common identity.


Congratulations, McRapey!

The Hugo Awards announces the 2013 awards:

LoneStarCon 3, the 71st World Science Fiction Convention, has
announced the 2013 Hugo Award winners. 1848 valid ballots were received
and counted in the final ballot.

BEST NOVEL
Redshirts: A Novel with Three Codas, John Scalzi (Tor)

I think it is nice that McRapey is finally receiving the in-group validation he has so assiduously pursued over the years.  While I tend to view this award as additional evidence of the decline of professionally published SF/F, I’m sure Redshirts is a perfectly fine unauthorized derivative of a television series from 47 years ago.  It’s rated 3.7 stars out of 5 on Amazon, after all.

A literary sample from the Best Science Fiction Novel of 2013:


“Man, I owe you a blowjob,” Duvall said.
“What?” Dahl said.
“What?” Hester said.
“Sorry,” Duvall said. “In ground forces, when someone does you a favor you tell them you owe them a sex act. If it’s a little thing, it’s a handjob. Medium, blowjob. Big favor, you owe them a fuck. Force of habit. It’s just an expression.”


“Got it,” Dahl said.


“No actual blowjob forthcoming,” Duvall said. “To be clear”
“It’s the thought that counts,” Dahl said, and turned to Hester. “What about you? You want to owe me a blowjob, too?”
“I’m thinking about it ,” Hester said.

And they say SF is in decline. I was mildly amused to see that the Hugo Awards honored no less than five people who were involved in some way in my expulsion from SFWA.  This comment from Harsh also cracked me up:

“Scalzi now working on a new book called Cylon, the story of a misunderstood robot who’s picked on by mean old Colonial warriors.”


Book Review: Impaler I

Impaler is a well written alternate history, marred with some
unfortunate anachronistic insertions of modern sensibilities. I would
also add that it is not for the faint of heart; fight sequences are
brutal and gory, torture is a regular occurrence, and pederasty forms a
foundational portion of the story.

Paulk effectively captures the
feeling of the time period for the most part, both its religiousness as
well as its savagery. She makes Vlad an understandable character,
while not shying away from the reality of of the violence of the times
and what was necessary for the man who would be king.

The primary
criticisms I have of this book is that while it for the most part aims
to be a gritty, historically based tale, it has a few elements that
break the willing suspension of disbelief. First, Vlad forbids the rape
and pillaging that regular accompanies a conquering army. This is
almost believable, and I would have given it a pass, had not other
issues come into play.

Towards the end of the book, some of the child
victims of pederasty engage in homosexual behavior. Not only does Vlad
give them a free pass, but he actively argues both an Orthodox priest
and a Catholic priest into submission. This is so absurd it is beyond
description. Further, he references in his arguments with the priests
his well-read nature in the Scriptures as well as having compared
translation notes. It is unlikely that most priests were even so
conversant in the Scriptures at that time, let alone the nobles (who
were in turn taught by the priests). A well educated noble would have
been able to read and perhaps do his own accounts, but not engage in
Scriptural debates. Similarly, a little later, he also reveals he is
conversant in Jewish treatises as well. Simply put, this is laughable
for the time.

Those criticisms not withstanding, Impaler was an
interesting read and cleverly written. I would not recommend it for
the tender hearted due to the violent content, but fans of historical
fiction and alternate histories will likely enjoy it.

NB: This is the first of the three volunteer reviews.  This one was written by DK.


Book review: Tour of Duty I

BB reviews Michael Z. Williamson’s Tour of Duty and finds it somewhat of a mixed bag. I have to admit, I was absolutely shocked that I didn’t hate the Valdemar stories, or at least, the two military ones set on the edges of it.  Let’s just say that my opinion of Mercedes Lackey’s books is considerably less generous than Mr. Williamson’s.  Also, unlike the reviewer, I really liked the gun porn at the end. After reading both articles on the 10 and 10 more manliest guns, I found myself checking out current prices on a few of the more interesting pieces.  But I’m not sure which surprised me more, however, the fact that Mr. Williamson had written stories set in Valdemar or that he has such a high opinion of the GLOCK.  


Those suspecting Mr. Williamson of possessing alternate sexual preferences on this basis should stand down, however, as he is highly sound on the 9mm round. As for the fiction, my definite favorite was the hunting in Hell story.

The book title implies some sort of tie-in between all of the short stories and that tie-in has to do with military or fighting life.  In a general way, this is true.Michael Z Williamson threads together personal anecdotes and short stories and he closes out with recipes for shots.  Not firearm shots, alcohol shots.  A lot of the anecdotes are personal insights into the stories that follow.  Some have to do with his personal deployment, some have to do with what sparked the story, such as the Poul Anderson tale.  That story was quite original and I spent a lot of it trying to match up first names with famous people.  If you read the book, you will understand what I mean.  Some of the anecdotes are just general information on how he ended up writing in this or that fantasy world or how he ended up where he is in life.  He has lived an unusual existence compared to most American citizens.

The first half of the book was particularly engaging.  “Desert Blues” was nice to me.  The imagery of mortar attack interwoven with music and altered lyrics and defiance of the enemy…I liked the feel of the story.  It is the one that stood out the most.  Probably because music is such a universal language, how we all blast the stereo on our favorite tunes, yardwork or housework made more bearable by lyrics and notes.  He captures that in the story, but set in a combat zone and I am still not sure if it is fiction or nonfiction.  After reading it, I wondered if he had that “moment” of clarity personally or not.

The stories from the Valdemar universe were familiar because I have read the original books by Mercedes Lackey but they were different enough to make me want to read the ones co-authored by Williamson and his wife.

I was expecting the whole book to be along the same lines but part way through, Williamson included stories about hell.  More specifically, a special kind of hell for lawyers.  Which could be an amusing premise, but I did not enjoy the tales at all.  And after the first story, “Heads You Lose,” I felt the book didn’t have the impact that the first half had anymore.  The two” Lawyers in Hell” stories were somewhat clever, certain characters locked in to their personas before they died, but it became tedious and no longer amusing after a handful of pages.  And the book sort of went downhill from there for me. 

I did ask Vox for guidance on this review because the book doesn’t follow a normal format, being short stories instead of one long tale, and his only directive was to think about whether the blog readers would enjoy it.  I think some would enjoy the first half for the military action, and some might enjoy the second for the clever wordplay in the second half.  The ending with the shot recipes, I just skimmed through them because I was not interested. 

Out of 5 stars, I’d give the book a 2.5 overall, which would obviously be weighted towards the first several short stories.

The following excerpt is from “Desert Blues”:

The guy could play.  Jazz mixed with blues and he just went on and on, silky and then snappy on the strings, playing his own fills and rhythm. It’s one thing on stage or in the studio with racks of gear and a mixing board, but he had a guitar and an amp.

The notes faded out as he dialed the volume down, and we all strained to hear it as long as possible.  The dull roar of generators, ECUS and the remaining ringing from mortars meant we probably missed quite a bit.  Still, it was what we had.

Then a strummed chord brought it all back to life with one of the greatest songs of all time.

“You get a shiver in the dark,

there’s a sandstorm in the park, but meantime

South of the Tigris you stop and you hold everything.”

I’ve tried playing Sultans of Swing.  It really takes two guitars and a bass to get that groove.  It can be done on one guitar, if the guitarist is just amazingly good.

This guy was that good and then some.

He played this syncopated, peppy rhythm, with this odd bluesy, jazzy, Arabian melody.  It fit the mood, the environment and the time, and I knew I’d never hear anything like it, ever again.  Not that I’d come back to Iraq even for a performance like this, of course…though I just might.

We just stood there and soaked it up, rapt or smiling, amazed or just oblivious.

“…Way on down south.

Way on down south, Baghdad town…”

No one moved, no one twitched.  The oven-dry heat covered us, and my feet sweated from the still sun-hot sand, but I was not going to move.  He sang and played and it was wistful and rich and American, even though Knopfler’s Scottish.  This version, though, was pure American spirit.

“Goodnight, now it’s time to go home.

Let me make it fast with one more thing.

I am the Sultan…

I am the Sultan of swing.”

I had no doubt he was.


Rating the epic fantasies

After taking everyone’s opinions into account, I removed a few
series, added a few more, and came up with the following order. 
Underlining indicates an incomplete series, or at least one I deem insufficiently complete to conclusively judge, while italics indicates a series I have not personally
read.

  1. The Lord of the Rings, Tolkien
  2. The First Law, Abercrombie
  3. Malazan Book of the Fallen, Erikson
  4. A Song of Ice and Fire, Martin
  5. The Black Company, Cook
  6. Dragonlance, Weis & Hickman
  7. The Chronicles of Thomas Covenant, Donaldson
  8. The Riftwar Saga, Feist
  9. The Long Price Quartet, Abraham
  10. The Demon Cycle, Brett  
  11. The Stormlight Archive, Sanderson 
  12. The Belgariad/The Mallorean, Eddings
  13. Codex Alera, Butcher
  14. The Prince of Nothing, Bakker
  15. Memory, Sorrow, and Thorn, Williams
  16. The Deathgate Cycle, Weis and Hickman  
  17. The Wheel of Time, Jordan/Sanderson
  18. The Sword of Truth, Goodkind
  19. Shannara, Brooks 
  20. The Red Knight, Cameron

No doubt many will disagree with my opinions here, but they are
not arbitrary.  First, I’m judging the series as a whole.  One thing
I’ve noticed is a lot of series take a serious nosedive after a certain
point.  The Chronicles of Thomas Covenant would be number two on this
list if judged solely on the first two Chronicles, (six books). 
Bakker’s series would have cracked the top ten were it not for the
abysmal third book. And as crazy as it sounds, Martin could freefall if
he doesn’t turn it around in this next book; post Dance, the “American
Tolkien” already sounds silly.

I tend to suspect
Brandon Sanderson will move up and Peter Brett will move down.  Brett
started great, but his demon world is a boring hive mind and he never
got around to actually writing about eponymous Daylight War in the third
book.  I suspect that he may have fallen victim to Epic Author Disease
even faster than Jordan or Martin did.

There
are series that I love, that I consider much better than most of the
series on this list.  But they’re not epic, by which I mean I regard
them as books that on some level are doing something similar to what I’m
attempting to do.  The whole reason that I’ve been closely considering
the various epic fantasy series is to avoid the problems that have
plagued some of these series in the past.

It’s
too soon to judge ATOB, but good or bad, I can hope to keep improving. 
Some would even say there is considerable room for it….


Lions Den III: Kate Paulk

Along with Dave Freer, Sarah Hoyt, and Chris McMahon, Kate Paulk is a member of the Mad Genius Club. She is also a Mensa-qualified history buff and her take on Vlad Tepes, aka Dracula, Impaler, is based on the actual historical figure and military leader, as opposed to the caped seducer. Please note that we now have our three volunteer reviewers.

Not Another Dracula Book

I get that a lot, since Impaler is – as the title suggests – about Vlad Dracula. Except, well… it’s not “another Dracula book”. For starters there’s the barest hint of a nod to the vampire legends, and for seconds, he’s the hero. Not anti-hero and not some PC navel gazing everyone is horrible and it’s all awful hero, either, he’s an honest to $DEITY$* actual hero in the old style. Also, because Impaler is alternate history, he wins.

Now that I’ve covered the plot in a nutshell (I really do describe the book to others this way. “Yes, it’s about Vlad the Impaler. He wins.” I think it might be the big grin when I say this that causes the faint of heart to edge away. That and the badge proclaiming “Dracula NEVER sparkled”), I should probably add a little more about what else makes Impaler not your typical Dracula book.

I hesitate to say that I researched the hell out of it, not least because any time I hear someone say that, the end result looks like the research came mostly out of the strange inner curves of their cranium rather than any actual library. I hope I got reasonably close to accurate, given that nobody has written “Everyday Life in Late Fifteenth Century Wallachia” – or if they have, they weren’t considerate enough to publish it in time for me to use it. A heck of a lot of architecture has vanished since then, too, so I spent hours chasing around for weird stuff like “What did Varna’s main gate look like in 1477?” (I didn’t find an answer to that one, so I guessed), “Where was Mehmed II in the winter of 1477/1478?” (Another guess – this one unfortunately essential to the plot), “What state were Constantinople’s walls in by early 1478?” (That one, I did get a more or less useful answer to).

From this the astute reader (meaning most of the folks here) might have guessed that a good chunk of Impaler is in the alternate side of history, and they’d be right. By the end of the first chapter Impaler is out of our timeline and into what might have happened if the man who was at one time regarded as the possible savior of Christendom had survived what was almost certainly an assassination attempt authored by Mehmed II (from a very safe distance – Vlad was the only person who ever scared Mehmed. Which in my opinion put Vlad on the right side of the line).

I started this because Vlad himself has intrigued me for years. Here was a man who was quite possibly the only hope his small nation had – someone with enough strength of will to challenge the noble class who had been going through Princes at the rate of one every couple of years on average (some of them with reigns so short any official portraits would have to be taken from their death mask), the determination to turn what would be called a failed state these days into a law-abiding nation (he succeeded), and the audacity to challenge the overwhelming power of the Ottoman Empire – which had been seen as unbeatable since the fall of Constantinople.

There were also the legends that suggested he inspired extraordinary loyalty, enough of them that there had to have been something there, particularly when some of these legends were authored by his enemies (of which he had many – not helped by Matthias Corvinus betraying him so he could use the crusade gold to ransom the crown of Hungary and forging “evidence” to that end – just like modern politics only with more blood), and the hints that the man behind the legends was strictly moral, determined, and had a vile semi-berserker temper that led him to fly into uncontrollable rages if something hit one of his triggers.

So I started to play with the question of what would Vlad have done if he had survived the assassination attempt. The rest of the book followed on from that.


Rating the epic fantasies

Someone came up with this idea in the comments and I thought it would be interesting, especially because I recently started reading two would-be epic fantasies that are, in a word, DEEE-readful.  About which more anon.  Here are the epic series I’m considering for the list, but feel free to add more in if you feel they belong.  To qualify, an epic fantasy has to be epic, it has to be big and fat and set in its own distinct, sprawling fantasy world.  If the books in the series aren’t at least 600 pages apiece, (and 750 is better), they don’t count, although I’m willing to consider exceptions.  For example, Glen Cook’s Black Company, in or out?  I vote in due to the size and scope of the series, though not the individual books themselves. Harry Potter, on the other hand, is definitely out.

The Lord of the Rings, Tolkien
The Wheel of Time, Jordan
The Riftwar Saga, Feist
Chronicles of Thomas Covenant, Donaldson
Shannara, Brooks
The Sword of Truth, Goodkind
Malazan  Book of the Fallen, Erikson
A Song of Ice and Fire, Martin
First Law, Abercrombie
Prince of Nothing, Bakker
The Black Company, Cook
The Kingkiller Chronicle, Rothfuss
The Belgariad, Eddings
The Mallorean, Eddings
Dragonlance, Weis & Hickman
The Deathgate Cycle, Weis and Hickman
The Long Price Quartet, Abraham
The Stormlight Archive, Sanderson
Mistborn, Sanderson
The Red Knight, Cameron
The Demon Cycle, Peter Brett

I was a little surprised to go back and discover that Silverberg’s Majipoor Cycle was a short as it is.  I remember Lord Valentine’s Castle being a huge book, not a mere 479 pages.  Anyhow, feel free to suggest any other epic fantasies that you would argue merit consideration, but note that I’ve already decided that Guy Gavriel Kay’s, Lloyd Alexander’s and Robin Hobb’s books are of insufficient scale to qualify as epic fantasy, whereas John Fultz’s and Mark Lawrence’s books are simply too short to make the cut.  And while one could make a perfectly rational argument for Pratchett’s Discworld in its totality, I don’t think it belongs here for stylistic reasons, if nothing else.


The grimy pessimism of George RR Martin

Rowan Light addresses the silly and unjustified claim that George RR Martin’s epic work is comparable, let alone superior, to JRR Tolkien’s The Lord of the Rings:

Though Martin knows how to tell a good story, brilliantly weaving his
complex plots with familiar tropes (without falling into kitsch), his
appeal depends on more than just skilful prose. Brutal cruelty, sex, and
disloyalty are the hallmarks of Martin’s world. This makes him, it is
argued, far more realistic than Tolkien. As Lev Grossman, the fantasy
author who first dubbed Martin “the American Tolkien”, writes,

“What … distinguishes Martin, and what marks him as a major force for
evolution in fantasy, is his refusal to embrace a vision of the world
as a Manichean struggle between Good and Evil. Tolkien’s work has
enormous imaginative force, but you have to go elsewhere for moral
complexity.”

There are no clear “goodies” in Westeros. Characters are honourable
or treacherous depending on the day of the week. Good guys finish last
and those who cling to noble principles are manipulated and/or beheaded.
We sympathize with immoral characters like the incestuous Lannisters,
Varys the Eunuch, and an assortment of murderers, rapists, and sadists.
Nothing is taboo.

Tolkien’s G-rated narrative, critics argue, has burdened the fantasy
genre with a “Disneyland Middle Ages”. Martin is more meaningful because
he is morally ambiguous.

Although he is an admirer of Tolkien, Martin notes that “the whole
concept of the Dark Lord, and good guys battling ugly guys, Good versus
Evil … has become a kind of cartoon.” Fantasy doesn’t need any more Dark
Lords or hideous enemies, because “in real life, the hardest aspect of
the battle between good and evil is determining which is which”.

“I’ve always liked grey characters”, Martin said in a 2001 interview,
“And as for the gods, I’ve never been satisfied by any of the answers
that are given. If there really is a benevolent loving god, why is the
world full of rape and torture? Why do we even have pain? … Why is agony
a good way to handle [death]?”

The “game of thrones” is a cynical view of politics with its
factional back-stabbing, unbridled lust, fickle allies and treacherous
families. The anarchic world of Westeros is fundamentally defined by the
ladder to power. “Some are given a chance to climb but they cling to
the realm or the gods or love – illusions!

Only the ladder is real; the
climb is all there is”, says the amoral and supremely calculating Lord
Baelish.

In this moral fog there is no room for nobility and beauty. “Of all
the bright cruel lies they tell you, the crudest is the one called
love”, Martin wrote in his 1976 short story “Meathouse”. But the
“realist” fantasy is limited to the basest dimensions of human
experience. It’s like reading a newspaper which only features articles
about Ariel Castro the Cleveland rapist, al-Qaeda suicide bombers and
waterboarding at Guantanamo Bay. It is hard to imagine anyone wanting to
live eternally in the brutal and sadistic Westeros.

Is Tolkien really less realistic, though?

The problem with Martin and his imitators is that their works reflect their crabbed and ugly souls.  It is interesting to compare the early reviews of Martin’s first two books with the latest two books in the series; Martin is increasingly committing some of the very acts that he was praised for avoiding in the beginning.

Does anyone believe that John Snow is truly dead?  Did anyone fail to notice that Martin ended A Dance with Dragons in much the same way that cheap sitcoms of the 1970s once ended their seasons? And how many characters that we were led to believe were dead are still wandering around Westeros in varying stages of life and undeath? Who has not marked the tragic decline of Tyrion Lannister from the witty dwarf who surmounted his short stature to the silly fool who falls off pigs?

Tolkien’s world was original and breathtaking. Martin’s is derivative and flat. Tolkien was a master of the structure of the epic tale. Martin wrote himself into an obvious structural impasse. But worst of all, where there is depth of soul and all the grandeur of Creation in Tolkien’s work, there is neither soul nor beauty in Martin’s. Martin focuses solely on the petty and ugly aspects of life, rendering his magnum opus more a commentary on his own nihilistic perspective than one upon the world in all its joys and sorrows.

Light is absolutely correct when he concludes that Tolkien “will still be sitting on the throne of fantasy in a hundred years’ time
while George Martin will be dismissed as the practitioner of an early
21st Century fad for grimy pessimism.”

It’s not that Martin is a mediocre fantasy author.  He is, in fact, a very good one.  I very much enjoyed the first three books and I hope that the sixth one will have more in common with them than its immediate predecessor. But it should not escape the reader’s attention that most of the superlatives praising Martin so highly predate A Dance with Dragons

This is why I don’t take either the effusive praise or the disdainful dismissals of A Throne of Bones very seriously. The story is not even one-quarter told.  The jury is still out on Martin and it has barely even begun being selected on my behalf.  But one thing I find very encouraging in this regard is the way in which my self-appointed enemies keep posting shamelessly dishonest reviews and trying to discourage people from reading Arts of Dark and Light.  They just don’t seem to realize that if A Throne of Bones were truly as terrible as they say, or even merely mediocre, they would be encouraging everyone to read it.


Book review: Hard Magic

Jonathan Moeller reviewed Hard Magic by Larry Correia.

Based on the cover art, I picked up this book anticipating something
along the lines of THE DRESDEN FILES or GARRETT, P.I – you know, a
hardbitten private investigator solves crimes involving supernatural
creatures while dealing with the ever-evolving mess that is his personal
and/or love life. (Depending on the skill of the writer in question,
the series might eventually degenerate into an endless sequence of
werewolf-on-vampire romantic interludes.)

HARD MAGIC is nothing like that.

It is speculative fiction in the purest sense of the word – changing
one element of human history or technology and asking “what if?” from
the question. In the case of this book, the premise is that in the
mid-19th century, humans started developing magical powers for unknown
reasons. As one might expect, this played havoc with quite a few
different aspects of human society – World War I was bad, but World War I
with zombies and fire wizards was much worse.

HARD MAGIC opens at the start of the Great Depression. Despite the
Depression, the world is at peace – Nikola Tesla figured out how to use
magic to build his fabled teleforce Death Ray,
and Tesla’ s “Peace Rays” have made war obsolete…or so claims the
government. Jake Sullivan, an ex-con with magical superstrength, is
recruited by the Bureau of Investigation (the precursor to the modern
FBI) to help bring down dangerous “Actives”, or magically empowered
individuals. Jake quickly realizes that the Bureau is in over its head –
in HARD MAGIC, Japan has been taken over by magic-using eugenic-minded
fascists, led by an ancient wizard who is determined to make humanity
stronger to face some unknown enemy…no matter how many people he has to
kill in the process.

Meanwhile, an unwanted girl named Faye, feared for her unusual
magical power of teleportation, grows up with her adoptive grandfather,
who also has the same power. One day when cars full of armed men show up
at her grandfather’s farm, Faye quickly realizes that Grandpa has a
secret…and a lot of people are willing to kill to get their hands on
that secret.

HARD MAGIC is chock-full of action, guns, adventure, and cool magical
powers. It’s also a fascinating piece of speculative fiction. How would
the use of magical powers shape human history? I especially liked the
quotes from historical figures at the start of each chapter, altered
slightly to contain the magical perspective. This also helps make the
villains particularly villainous – 20th century era eugenics were bad
enough, but magic-backed eugenics are even worse. (Also, there seems to
be an unwritten law of alternate history fiction that zeppelins must
make an appearance, and HARD MAGIC has zeppelins in spades.)

Definitely recommended, and I’ll be reading the sequel later this year.